Recorded live on December 8, 2006 at a memorial event for James Tenney at California Institute of the Arts, Perhaps is Harold Budd sublimely distilled. Striking in its restraint and simplicity yet profoundly resonant in its depth and message, it is both eulogy to a departed friend and defining statement from an artist at the apotheosis of his career. Originally available only digitally (and only from Samadhisound's web site), Perhaps sees its first-ever and much-deserved physical release, mastered and cut at Dubplates & Mastering in Berlin. Engineered by Justin Jones (at CalArts), Clay Chaplin and Aaron Drake. Edited by Justin Jones. Layout by Vicky Fong. "Some 35 years ago, Jim Tenney and I were half of the composition faculty at the brand new California Institute of the Arts -- CalArts. He was in those five years (1970-1975) my best friend. We lived in an out-of-the-way rural area at the fringes of the Mojave Desert and were often to be found drinking beer and playing pool in one of a number of local cowboy bars. We never agreed about music. Jim was a champion of early 20th century modernism; I was an anti-vanguard sensualist, at least in music. In the early 70s, Jim set about writing a series of 'Post Card Pieces' -- short aphorisms for dozens of friends. The one for me was called '(night)', as I recall: asking for something that's 'very long ... nearly white' ... My performance, in Jim's memory (75-minutes, non-stop and improvised) was, thus, not a composition but a provocation, and one I whole-heartedly addressed: I loved every moment. The 'titles' were conjured a month after the performance. Mostly, they don't refer to any aspect of the music they're joined to. The final task was to edit out some (but not all) extraneous noise and to shorten some gaps (as I pondered very quickly what to do next)." --Harold Budd, January 31, 2007

Limited double LP version. Recorded live on December 8, 2006 at a memorial event for James Tenney at California Institute of the Arts, Perhaps is Harold Budd sublimely distilled. Striking in its restraint and simplicity yet profoundly resonant in its depth and message, it is both eulogy to a departed friend and defining statement from an artist at the apotheosis of his career. Originally available only digitally (and only from Samadhisound's web site), Perhaps sees its first-ever and much-deserved physical release, mastered and cut at Dubplates & Mastering in Berlin. Engineered by Justin Jones (at CalArts), Clay Chaplin and Aaron Drake. Edited by Justin Jones. Layout by Vicky Fong. "Some 35 years ago, Jim Tenney and I were half of the composition faculty at the brand new California Institute of the Arts -- CalArts. He was in those five years (1970-1975) my best friend. We lived in an out-of-the-way rural area at the fringes of the Mojave Desert and were often to be found drinking beer and playing pool in one of a number of local cowboy bars. We never agreed about music. Jim was a champion of early 20th century modernism; I was an anti-vanguard sensualist, at least in music. In the early 70s, Jim set about writing a series of 'Post Card Pieces' -- short aphorisms for dozens of friends. The one for me was called '(night)', as I recall: asking for something that's 'very long ... nearly white' ... My performance, in Jim's memory (75-minutes, non-stop and improvised) was, thus, not a composition but a provocation, and one I whole-heartedly addressed: I loved every moment. The 'titles' were conjured a month after the performance. Mostly, they don't refer to any aspect of the music they're joined to. The final task was to edit out some (but not all) extraneous noise and to shorten some gaps (as I pondered very quickly what to do next)." --Harold Budd, January 31, 2007

1992 release. "In 1978, The Pavilion Of Dreams marked Harold Budd's arrival on the international music scene. Decades removed, this release is still unique given its compositional grace and clever mixture of musical styles. On this album, Budd's music blends minimalism with contemporary classical and jazz balladry. The result is the emerging sound of ambient music, a style that was still new at the time. The Pavilion Of Dreams includes four pieces. Unlike most modern ambient music, Budd's compositions feature chamber ensembles. Moreover, his work never falls back on electronics or washy keyboard patches. The longest composition, 'Bismillahi 'Rrahman 'Rrahim,' draws on the music of John Coltrane. Here, saxophonist Marion Brown plays with great restraint as Budd's plaintive melody floats over the rolling mallet percussion and cascading electric piano arpeggios. Other pieces feature the gentle harp playing of Maggie Thomas and an array of singers. 'Two Songs' is the closest Budd comes to composing lieder, while the exploratory 'Juno' requires the percussion ensemble to sing as they play. A hallmark in the ambient genre, this music will always sound fresh and compelling."

"Avalon Sutra is to be California-born American minimalist composer and pianist Harold Budd's last recorded work. Best known for his collaborations with Brian Eno, contributing his stunning piano work to key recordings such as 1980's Ambient 2: Plateau of Mirror, Budd has produced a series of remarkable minimalist compositions and recordings, including Pavilion of Dreams, The Pearl and The Room, which have earned him worldwide respect. Budd has collaborated with the Cocteau Twins' Robin Guthrie, Daniel Lanois, XTC's Andy Partridge and saxophonists Marion Brown and John Gibson amongst many others, and has been a major influence on the development of contemporary ambient and electronic music. Avalon Sutra (released as a 2 disc set) is a suite of short, heartbreaking ambient pieces, featuring Budd's delicate piano improvisations, lush string arrangements and warm electronic drones. The second disc ('As Long As I Can Hold My Breath') features a startling remix by LA based electronic composer Akira Rabelais, sending Budd's arrangements into Feldmanesque eternities of sound."'Avalon Sutra is Budd at the pinnacle of his creativity, a master of meditative beauty.' Marcus Boon.